ENG 1131: Writing About American Prestige TV (Sec 4841)
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Alternativo 6 Tv.Qxp
6 Alternativo - [email protected] O Estado do Maranhão - São Luís, 5 de abril de 2012 - quinta-feira COM FLORENÇA MAZZA E Novelas ANNA LUIZA SANTIAGO • Controle remoto E-mail: kogut@ oglobo. com. br Patrícia Kogut - [email protected] Malhação 17h54 -Gabriel se emocio- na quando Cristal fala que seu filho é um menino. Isa- bela ajuda Fabiano a mu- A fé que move João Miguel Júnior dar seu estilo por causa de montanhas Laura. Bertoni orienta Ga- O programa de Cissa briel a procurar Moisés para Guimarães no GNT, "Viver com falar sobre o Centro Esportivo. Fé", mal estreou e já é uma das Betão flagra Guido e Babi no quarto e se en- maiores apostas do canal. Já furece. Moisés fica nervoso quando Gabriel começaram as negociações entra em seu escritório. para uma segunda temporada, que deverá sair do eixo Rio-São Amoe eterno amor Paulo e visitar outras cidades 18h25- Clara interrompe o en- aqui e no exterior. contro entre Miriam e Rodri- go. Tereza e Antonio expul- Cinema sam Melissa da casa de No ar em "Avenida Brasil", Rodrigo. Valéria conta pa- Marcos Caruso está escrevendo ra Jacira que pode estar o roteiro de um filme baseado grávida de Rodrigo. Laura no livro "Purgatório", de Mario confessa a Gil que ficou Prata. A produção será da abalada com a visita de Di- Conspiração. Para quem não mas. Clara tem uma visão do lugar onde Ro- lembra, o megassucesso do drigo morou em Minas Gerais. teatro e do cinema "Trair e Coçar é só Começar" é dele. -
The Civil Rights Movement on Long Island
Civil Rights on Long Island Hofstra University The Civil Rights Movement on Long Island: A Local History Curriculum Guide for Middle School and High School Table of Contents Introduction: "Teaching about the Civil Rights Movement on Long Island," by Alan Singer... p. 3 1- "The Origins of the Long Island Civil Rights Movement," by Severin Cornelius................. p. 5 Documents: .............................................................................................................................. p. 7 1A) The Ku Klux Klan on Long Island 1B) Long Islanders Recognize the Problem of Racial Discrimination 1C) Is there a wrong way to challenge discrimination? 1D) Combating Job Bias - Can we overcome past discrimination? 1E) Racial Tension Builds on Long Island 1F) Martin Luther King, Jr. Speaks at Hofstra University Oral History : ........................................................................................................................... p. 15 "Dr. Eugene Reed and the Battle for Civil Rights on Long Island," by Clinton Grant and John Syffrard "Don and Doris Shaffer, Civil Rights Activists," by Robert Gault and Paul Henning Political Cartoons ................................................................................................................... p. 18 2- "Housing Discrimination on Long Island," by Stavros Kilimitzoglou ................................ p. 20 Documents: ............................................................................................................................. p. 22 2A) Racial -
Selling Nostalgia: Mad Men, Postmodernism and Neoliberalism Deborah Tudor [email protected], [email protected]
Southern Illinois University Carbondale OpenSIUC Neoliberalism and Media Global Media Research Center Spring 2012 Selling Nostalgia: Mad Men, Postmodernism and Neoliberalism Deborah Tudor [email protected], [email protected] Follow this and additional works at: http://opensiuc.lib.siu.edu/gmrc_nm A much earlier version of this project was published in Society, May 2012. This version expands upon the issues of individualism under neoliberalism through an examination of ways that the protagonist portrays a neoliberal subjectivity. Recommended Citation Tudor, Deborah, "Selling Nostalgia: Mad Men, Postmodernism and Neoliberalism" (2012). Neoliberalism and Media. Paper 4. http://opensiuc.lib.siu.edu/gmrc_nm/4 This Article is brought to you for free and open access by the Global Media Research Center at OpenSIUC. It has been accepted for inclusion in Neoliberalism and Media by an authorized administrator of OpenSIUC. For more information, please contact [email protected]. Selling Nostalgia: Mad Men , Postmodernism and Neoliberalism Deborah Tudor Fredric Jameson identified postmodernism as the “cultural logic of late capitalism” in his 1984 essay of the same name. Late capitalism, or neoliberalism, produces a society characterized by return to free market principles of the 19 th century and cultivates a strong return to rugged individualism. (Kapur) Postmodern cultural logic emphasizes visual representations of culture as a dominant cultural determinant. It is this framework that opens a discussion of Mad Men, a series that uses a mid century advertising firm as a filter for a history that is reduced to recirculated images. In Norman Denzin’s discussion of film and postmodernism, he examines how our media culture’s embodies neoliberal, postmodern notions of life and self. -
Biggest Moments in Mad Men We Learn That Don's Girlfriend Midge Is
Biggest Moments In Mad Men We learn that Don's girlfriend Midge is in fact his mistress and he is actually married. Betty shoots the pigeons. We learn about Don's true identity Peggy and Stan get naked in the hotel Joan's room mate makes a pass at her Betty sets up her friend with the guy from the stables Don's brother Adam kills himself. We learn that Peggy is pregnant. Joan's fiancé (Greg Harris) rapes her in Don's office Roger has his first of two heart attack! Roger proposes to Jane Siegel, a secretary, and ends his marriage with Mona. Sal turns down the opportunity to sleep with Elliot. Sal is fired from SC. An unhappily and pregnant Betty has anonymous sex in a bar with a complete stranger. Freddie Rumsen pissing himself in the middle of an alcoholinduced blackout and is later fired. Don gets Roger to throw up after getting revenge for him making a pass at Betty. PPL buys out SC leaving Duck out of the deal. Betty finally gets access to Don's office drawer and learns about his true identity. Lois Sadler runs over Guy MacKendrick's foot with John Deere lawnmower in “Guy Walks Into an Advertising Agency” Betty makes the decision to file for divorced and leave Don for Henry. Bert, Roger and Don are fired by Lane and then turn around and start SCDP. Anna Draper dies of cancer. Joan becomes pregnant with Rogers child and tries to pass the child off as Gregs. Don proposes to Megan. -
The Cross-Country/Cross-Class Drives of Don Draper/Dick Whitman: Examining Mad Men’S Hobo Narrative
Journal of Working-Class Studies Volume 2 Issue 1, 2017 Forsberg The Cross-Country/Cross-Class Drives of Don Draper/Dick Whitman: Examining Mad Men’s Hobo Narrative Jennifer Hagen Forsberg, Clemson University Abstract This article examines how the critically acclaimed television show Mad Men (2007- 2015) sells romanticized working-class representations to middle-class audiences, including contemporary cable subscribers. The television drama’s lead protagonist, Don Draper, exhibits class performatively in his assumed identity as a Madison Avenue ad executive, which is in constant conflict with his hobo-driven born identity of Dick Whitman. To fully examine Draper/Whitman’s cross-class tensions, I draw on the American literary form of the hobo narrative, which issues agency to the hobo figure but overlooks the material conditions of homelessness. I argue that the hobo narrative becomes a predominant but overlooked aspect of Mad Men’s period presentation, specifically one that is used as a technique for self-making and self- marketing white masculinity in twenty-first century U.S. cultural productions. Keywords Cross-class tensions; television; working-class representations The critically acclaimed television drama Mad Men (2007-2015) ended its seventh and final season in May 2015. The series covered the cultural and historical period of March 1960 to November 1970, and followed advertising executive Don Draper and his colleagues on Madison Avenue in New York City. As a text that shows the political dynamism of the mid-century to a twenty-first century audience, Mad Men has wide-ranging interpretations across critical camps. For example, in ‘Selling Nostalgia: Mad Men, Postmodernism and Neoliberalism,’ Deborah Tudor suggests that the show offers commitments to individualism through a ‘neoliberal discourse of style’ which stages provocative constructions of reality (2012, p. -
Behind Every Mad Man There Is a Mad Woman
Behind Every Mad Man There Is a Mad Woman On Male and Female Representations and Sexuality in AMC’s Mad Men Ana Serediuc Supervisor: Paper submitted in partial fulfilment of the Prof. dr. Gert Buelens requirements for the degree of “Master in de Taal- en letterkunde: Italiaans-Engels” 2016 – 2017 Serediuc 2 Acknowledgements When I first started watching Mad Men it had never occurred to me that one day, I would write my dissertation about the show in order to obtain my master’s degree at the University of Ghent – and yet here we are a few years later. This pop-cultural topic of my choice did not always facilitate my research nor my writing process, but it did to a large extent made me greatly enjoy this entire journey. After experiencing some difficulties in finding a suitable subject matter, it was my supervisor who pointed me in the right direction. Therefore, I would like to express my gratitude to prof. dr. Gert Buelens, who not only helped me define my subject, but who has also put a lot of work in giving me thorough and supportive feedback. Furthermore, I would like to thank my friends and family for their amazing support not only during the realization of this master thesis, but throughout the entire duration of my academic studies. A special thanks to Kessy Cottegnie and Marjolein Schollaert for being such dedicated proof-readers and supporters. Serediuc 3 Table of Contents Acknowledgements……………………………………………………………………….. 2 Table of Contents …………………………………………………..…………………….. 3 List of Figures ………………………………………………………………………….… 4 Introduction ……………………………………………………………………………... 5 I - Male and Female Roles………………………………………………………………. 10 Chapter 1 • Traditional and Modern Women ……………………………………...... -
Women and Work in Mad Men Maria Korhon
“You can’t be a man. Be a woman, it’s a powerful business when done correctly:” Women and Work in Mad Men Maria Korhonen Master’s Thesis English Philology Faculty of Humanities University of Oulu Spring 2016 Contents 1. Introduction ................................................................................................................................................... 3 1.1. History of Working Women .................................................................................................................... 5 2. Appearance .................................................................................................................................................. 10 2.1. Appearance bias ................................................................................................................................... 10 2.1.1 Weight ................................................................................................................................................ 12 2.1.2. Beauty ideals ..................................................................................................................................... 15 2.1.3. 1960s Work Attire ............................................................................................................................. 18 2.1.4. Clothing and external image in the workplace .................................................................................. 20 2.1.5. Gender and clothing ......................................................................................................................... -
1 Television As Psychical Object: Mad Men and the Value Of
Television as psychical object: Mad Men and the value of psychoanalysis for television scholarship Caroline Bainbridge Address for correspondence: Dept. Media, Culture and Language University of Roehampton Roehampton Lane London SW15 5SL [email protected] Abstract: Claims that Mad Men (2007-15) is an obedient postfeminist text overlook the drama’s images of both women and the history of feminism and its potential to impact on contemporary understandings of gender politics. Mad Men can be seen as a psychological object, helping viewers to explore links between their own experience and that of characters on screen as the narrative unfolds. Making links between the social re-emergence of feminist awareness, the drama’s representations of second wave feminism, and a psychoanalytic understanding of mourning, I suggest that that a return to psychoanalytic methodologies has the potential to enrich television scholarship. Author Biog: Caroline Bainbridge is Professor of Culture and Psychoanalysis at the University of Roehampton. Her books include The Cinema of Lars von Trier (2007) and A Feminine Cinematics (2008), co-edited volumes such as Television and Psychoanalysis (2013) and Media and the Inner World (2014), and curated special editions of journals such as Psychoanalysis, Culture and Society and Free Associations. She is film editor for The International Journal of Psychoanalysis. 1 With its associated opportunities for viewers to engage with television drama via a plethora of “on-demand” services, “new” television provides scope to re-visit questions about the psychodynamics of viewing experience in the context of television scholarship. This is demonstrated in debates about binge watching and its links to emerging interfaces of media consumption (Brunsdon, 2010; Jenner, 2015; Matrix, 2014; Perks, 2015). -
Stephen King * the Mist
Stephen King * The Mist I. The Coming of the Storm. This is what happened. On the night that the worst heat wave in northern New England history finally broke-the night of July 19-the entire western Maine region was lashed with the most vicious thunderstorms I have ever seen. We lived on Long Lake, and we saw the first of the storms beating its way across the water toward us just before dark. For an hour before, the air had been utterly still. The American flag that my father put up on our boathouse in 1936 lay limp against its pole. Not even its hem fluttered. The heat was like a solid thing, and it seemed as deep as sullen quarry-water. That afternoon the three of us had gone swimming, but the water was no relief unless you went out deep. Neither Steffy nor I wanted to go deep because Billy couldn't. Billy is five. We ate a cold supper at five-thirty, picking listlessly at ham sandwiches and potato salad out on the deck that faces the lake. Nobody seemed to want anything but Pepsi, which was in a steel bucket of ice cubes. After supper Billy went out back to play on his monkey bars for a while. Steff and I sat without talking much, smoking and looking across the sullen flat mirror of the lake to Harrison on the far side. A few powerboats droned back and forth. The evergreens over there looked dusty and beaten. In the west, great purple thunderheads were slowly building up, massing like an army. -
LIONS GATE ENTERTAINMENT CORP. (Exact Name of Registrant As Specified in Its Charter)
Table of Contents UNITED STATES SECURITIES AND EXCHANGE COMMISSION Washington, D.C. 20549 Form 10-K (Mark One) ANNUAL REPORT PURSUANT TO SECTION 13 OR 15(d) OF THE SECURITIES EXCHANGE ACT OF 1934 For the fiscal year ended March 31, 2012 or TRANSITION REPORT PURSUANT TO SECTION 13 OR 15(d) OF THE SECURITIES EXCHANGE ACT OF 1934 For the transition period from to Commission File No.: 1-14880 LIONS GATE ENTERTAINMENT CORP. (Exact name of registrant as specified in its charter) British Columbia, Canada N/A (State or Other Jurisdiction of (I.R.S. Employer Incorporation or Organization) Identification No.) 1055 West Hastings Street, Suite 2200 2700 Colorado Avenue, Suite 200 Vancouver, British Columbia V6E 2E9 Santa Monica, California 90404 (877) 848-3866 (310) 449-9200 (Address of Principal Executive Offices, Zip Code) Registrant’s telephone number, including area code: (877) 848-3866 Securities registered pursuant to Section 12(b) of the Act: Title of Each Class Name of Each Exchange on Which Registered Common Shares, without par value New York Stock Exchange Securities registered pursuant to Section 12(g) of the Act: None ___________________________________________________________ Indicate by check mark if the registrant is a well-known seasoned issuer, as defined in Rule 405 of the Securities Act. Yes No Indicate by check mark if the registrant is not required to file reports pursuant to Section 13 or Section 15(d) of the Securities Exchange Act of 1934. Yes No Indicate by check mark whether the registrant (1) has filed all reports required to be filed by Section 13 or Section 15(d) of the Securities Exchange Act of 1934 during the preceding 12 months (or for such shorter period that the registrant was required to file such reports), and (2) has been subject to such filing requirements for the past 90 days. -
Extralegal Whitewashes
DePaul Law Review Volume 62 Issue 3 Spring 2013: Symposium - Class Action Rollback? Wal-Mart v. Dukes and the Future of Article 11 Class Action Litigation Extralegal Whitewashes Lesley Wexler Follow this and additional works at: https://via.library.depaul.edu/law-review Recommended Citation Lesley Wexler, Extralegal Whitewashes, 62 DePaul L. Rev. 817 (2013) Available at: https://via.library.depaul.edu/law-review/vol62/iss3/11 This Article is brought to you for free and open access by the College of Law at Via Sapientiae. It has been accepted for inclusion in DePaul Law Review by an authorized editor of Via Sapientiae. For more information, please contact [email protected]. EXTRALEGAL WHITEWASHES Lesley Wexler* "If you don't like what's being said, change the conversation." Don Draper' INTRODUCTION Do class action and other high-profile lawsuits change corporate so- cial behavior and create corporate social responsibility? While the an- swer is decidedly mixed,2 the litigation literature focuses on measures * Professor and Thomas A. Mengler Faculty Scholar, University of Illinois College of Law. Thanks to Rachel Arnow-Richman, Jessica Clarke, and Naomi Schoenbaum for helpful com- ments. Many thanks also to Marissa Meli and Lisa Koerner for research assistance. 1. Mad Men: Blowing Smoke (AMC television broadcast Oct. 10, 2010). In the popular televi- sion show Mad Men, the advertising agency Sterling Cooper Draper Pryce was fired by its largest client, Lucky Strike. Concerned that bad press would cause other clients to jump ship, creative director Don Draper went on the offensive. Rather than acknowledge its firing or its shortcom- ings, Draper had the agency take out a full page advertisement in the New York Times proclaim- ing its concerns about smoking's health risks and announcing that it will no longer accept cigarette companies as clients. -
Stoneback Thesis.Pdf
“Women Usually Want to Please”: A Linguistic Analysis of Femininity and Power in Mad Men by Stephanie Stoneback A thesis presented for the B.A. degree with Honors in The Department of English University of Michigan Winter 2019 © 2019 Stephanie Christine Stoneback To my mom. Acknowledgments First of all, I would like to thank my thesis advisor, Anne Curzan, for her unwavering support, guidance, and understanding throughout this process. Anne, without your encouragement, listening ear, criticism, and patience, I would have never been able to produce such exciting analysis that I am proud of. To me, you embody what it means to be a powerful woman and you are such an inspiration as I complete my undergraduate work and enter a new phase of life. Thank you so much for that. Next, I must thank our program director, Adela Pinch, for her helpful tips and constant reminders that everything was going to be okay. Adela, in many ways, you have shaped my education as an English major at the University of Michigan—you taught me the Introduction to Literary Studies course, a course on Jane Austen, and both semesters of Thesis Writing. Thank you so much for the years of engaged learning, critical thinking, and community building. I would also like to thank some of the staff members of the New England Literature Program, who helped instill in me a confidence in my writing and in my self that I never knew I was capable of. Aric Knuth, Ryan Babbitt, Mark Gindi, Maya West, and Kristin Gilger, each of you had a distinct and lasting impact on me, in some unspoken and perhaps sacred ways.